We found 3230 price guide item(s) matching your search

Tekno a 1/50 scale truck to include 73108 Eddie Stobart. Conditions generally appear Near Mint in generally Good boxes. See photo. 

Monogram, Academy and Tamiya a mixed boxed group of Planes/Vehicles to include Monogram 6063 F-82 Twin Mustang, Tamiya 60601 U.S.A.F Bell X-1 Mach Buster and others. Not checked for completeness or correctness, and there is a possibility that some may or may not be partly built/started. Conditions generally appear Good in generally Poor to Good Plus boxes. See photo.    

Dinky a unboxed group of Tractors and Farming Vehicle Accessories to include include Dinky 3C1 Field Marshall, Dinky Massey Harris, Manure Spreader and others. Conditions generally appear Fair to Good Plus. See photo. 

Lledo Vanguards, a mixed boxed group to include VA07800 Mercedes-Benz 300 SL and others. Conditions generally appear Excellent Plus in generally Good boxes. See photo. 

Minichamps 122043946 1/12 scale - "Valentino Rossi" Yamaha YZR-M1 - 2004 Pre Season Test. Conditions generally appear Near Mint in generally Excellent box with Good Mailer box. See photo. 

Minichamps 122043046 1/12 scale - "Valentino Rossi" Yamaha YZR-M1 - Yamaha Team 2004 MotoGP. (THE SAME MODEL ONE HAS BEEN PROFESSIONALY SPRAYED BLACK AS COPY OF TESTBIKE) Conditions generally appear Near Mint in generally Excellent box with Good Mailer box. See photo. 

Matchbox a mixed boxed group of 1/72 scale Aircraft/Vehicles to include PK-653 Kaman Seasprite, PK-309 Tyrrell P34/2 and others. Not checked for completeness or correctness, and there is a possibility that some may or may not be partly built/started. Conditions generally appear Good in generally Poor to Good Plus boxes. See photo.    

Heller a mixed boxed group of 1/72 and other scale Planes and Ships to include #80212 Dewoitine D 520, #80394 Potez 631 and others. Not checked for completeness or correctness, and there is a possibility that some may or may not be partly built/started. Conditions generally appear Good in generally Poor to Good Plus boxes. See photo.    

Minichamps 122073046 1/12 scale - "Valentino Rossi" Yamaha YZR-M1 - Fiat Yamaha Team 2007 MotoGP. Conditions generally appear Near Mint in generally Excellent box with Excellent Mailer box. See photo. 

Pegasus, Emhar and similar, a mixed boxed model kit group of 1/72 scale tanks to include, Pegasus No.7669 JS-2 Soviet Heavy Tank, Emhar 5004 MkA "Whippet WW1 Medium A Tank and others. Not checked for completeness & some duplicates. Contents generally appear Excellent in generally Fair to Good boxes. See photo.   

GERALD LESLIE BROCKHURST 6 ETCHINGS: CORINNE; SEULE; MAUREEN; STUDY FOR A DECORATION; FRANCIS MCNAMARA; HEAD OF A GIRL Etching, signed in plate, signed in pencil to margin;SEULE, Etching, signed in pencil to margin;MAUREEN, Etching, signed in plate, signed in pencil to margin;STUDY FOR A DECORATION, Etching, signed in pencil to margin;FRANCIS MCNAMARA, Etching, signed in plate, signed in pencil to margin;HEAD OF A GIRL, Etching, signed in plate, signed in pencil to margin (6) plate sizes: 14cm x 10cm (5.5in x 4in); 15cm x 17.5cm (6in x 7in); 11.5cm x 7.5cm (4.5in x 3in); 15.75cm x 12cm (6.25in x 4.75in); 12cm x 9.5cm (4.75in x 3.75in); 9.5cm x 7cm (3.75in x 2.75in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

GERALD LESLIE BROCKHURST 4 ETCHINGS: CHARLES CLAUDE CARPENTER - 1931; MR WIGGIN - 1932; MRS ALBERT H. WIGGIN - 1932; DR CHARLES LEE REESE Etching, signed and dated in plate, signed in pencil to margin;MR WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;MRS ALBERT H. WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;DR CHARLES LEE REESE, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 30cm x 22cm (11.75in x 8.75in); 25cm x 18.5cm (9.75in x 7.25in); 25cm x 19cm (9.75in x 7.5in); 20cm x 16.5cm (8in x 6.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

GERALD LESLIE BROCKHURST 5 ETCHINGS: MARQUETT; HENRY BELL - 1930; PEPITA; A BALLYNAKILL WOMAN; A CONNEMARA PEASANT Etching, signed in plate, signed in pencil to margin;HENRY BELL, Etching, signed and dated in plate, signed in pencil to margin;PEPITA, Etching, signed in plate, monogrammed 'C. P.' in plate, signed in pencil to margin;A BALLYNAKILL WOMAN, Etching, signed in plate, signed in pencil to margin;A CONNEMARA PEASANT, Etching, signed in plate, signed in pencil to margin (5) plate sizes: 21.5cm x 17.5cm (8.5in x 6.75in); 21cm x 15.5cm (8.25in x 6.25in); 11.5cm x 11cm (4.5in x 4.25in); 14cm x 10.5cm (5.5in x 4.25in); 16.5cm x 11.5cm (6.5in x 4.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

GERALD LESLIE BROCKHURST 4 ETCHINGS: RANUNCULUS - 1921, ELIZABETH; PAQUITA; CHIQUITA Etching, signed in pencil to margin;ELIZABETH, Etching, signed in plate, signed in pencil to margin;PAQUITA, Etching, signed in plate, signed in pencil to margin;CHIQUITA, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 20cm x 15cm (8in x 6in); 15cm x 10cm (6in x 4in); 14cm x 10.75cm (5.5in x 4.25in); 16cm x 13cm (6.25in x 5.25in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

BACK TO THE FUTURE PART II (1989) - Michael J. Fox Autographed Replica HoverboardBidding for this lot will end on Thursday 8th February. The auction will begin at 2:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Marty McFly's now iconic hoverboard from Back to the Future: Part II (1989) is one of cinema's most instantly recognisable props. As to be expected, demand for commercial replicas skyrocketed. In the film, McFly (Fox) attempts to escape from Griff (Thomas F. Wilson) and his gang on a hoverboard. The hoverboard displays a large clear autograph from Michael J. Fox in black ink. 8" x 28" x 2.5" (20 x 71 x 6 cm)Additional Information: Signed by Michael J. Fox.Condition: Near MintCelebrity Authentics holographic sticker stuck on the top side of the hoverboard.Artist: £300 - 600VAT Status: MClick here for our Poster Auction Grading Guide

A reproduction of the Gold State CoachSeason 3, Episode 10, 'Cri de Coeur' and Season 6, Episode 9, 'Hope Street'Inspired by the 1760 commission by Francis Rawdon-Hastings, 1st Marquess of Hastings for King George III, and designed by Sir William Chambers, approximately: 188cm wide, 560cm deep, 315cm high (74in wide, 220in deep, 124in high) Footnotes:One of the more challenging - and expensive - props constructed for The Crown is the replica of the Gold State Coach. Built in 1762 for King George III, the real coach has been used at every coronation since 1831 when King William IV succeeded to the throne. A rococo masterpiece, it was designed by architect Sir William Chambers, best known for Somerset House in London and the pagoda at Kew Gardens, and was constructed in the workshop of coachbuilder Samuel Butler. The coach is made of gilded wood with elaborate carvings by sculptor Sir Joseph Wilton, who, like Chambers, was a founding member of the Royal Academy. Upholstered in velvet and satin, the interior also features wonderful illustrated panels, painted by Giovanni Battista Cipriani, depicting Roman gods and goddesses. Some 7 metres long and 3.6 metres tall, the Gold State Coach weighs 4 tonnes and requires eight horses to pull it, though because of its great age and not inconsiderable weight it is restricted to walking pace when in use. The Gold State Coach was last used for the coronation of HM King Charles III on 6th May 2023. For the life-size replica used in the television series, Left Bank Pictures turned to specialists The Devil's Horsemen, who built the chassis, and Anarchy Ltd, who were responsible for the body. The Devil's Horsemen is one of the leading film-industry horse suppliers in Europe. Owned by horsemasters Daniel and Camilla Naprous and their father Gerard, they provide horses, carriages, tack, riders and horsemasters to international films, television programmes and for photoshoots. For half a century, The Devil's Horsemen have worked with world renowned production companies, directors, producers and photographers, including Disney, Warner Bros, Universal Pictures, HBO, Netflix, Fox Broadcasting and Working Title Films.A highly experienced prop-making, model-making and special-effects company, Anarchy began by carrying out an inspection of the real Gold State Coach. From photographs taken they drew up the carriage and CNC machined a wooden jig for The Devil's Horsemen to build the wheels and chassis. With some artistic license, Anarchy used a combination of 3D CNC machining, hand sculpting in clay, and 3D printing to produce the components. Hand-sculpted elements were moulded and cast in GRP (glassfibre). Anarchy also fabricated offset steel hinges and cast brass handles featuring lion's head details to tie in with the carvings on the main body. Completed in 2019, the carriage was then used in production of The Crown, adding incredible detail and feeling to some of the pivotal moments of the series. A unique opportunity to own the ultimate in regal transportation.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Dominic West (as Prince Charles): an Empire-style mahogany and gilt-metal mounted pedestal partner's deskFirst seen in Season 5, in the Charles Study at Highgrove setThe gilt tooled leather writing surface above three drawers and a pair of cupboard doors flanked by classical terms on a breakfront plinth base, on paw feet, the reverse with similar decoration, together with a Regency-style mahogany and cut-brass inlaid armchair with scrolled arms on sabre legs, the desk dressed with a variety of props to include: photograph frames;a brass inkstand mounted with slate floral inlaid pietra dura medallions; a selection of books; a Baccarat glass paperweight commemorating Prince Charles' investiture in 1976; a Mulberry crocodile effect blotter; various pens; cups; a collection of cased rulers; and a variety of paper ephemera props created by the Graphics Department, the desk: 160cm wide, 84cm deep, 78.5cm high (62 1/2in wide, 33in deep, 30 1/2in high) (qty)Footnotes:Dressed by The Crown's Set Decorating Department and items may have changed from when used in filming.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

John Lithgow (as Winston Churchill): A selection of character propsTo include: a bowler hat in the vintage style, made by Cosprops; a wool and silk paisley printed scarf, made by Turnbull & Asser; two pairs of spectacles made by C. W. Dixley & Son, with faux tortoiseshell frames; and a black and white photograph of Lithgow as Churchill, the bowler hat: 33cm wide, 27cm deep, 16cm high (12 1/2in wide, 10 1/2in deep, 6in high) (5)For further information on this lot please visit Bonhams.com

John Lithgow (as Winston Churchill): A selection of character painting propsTo include: four landscape oleographs in the style of Winston Churchill by Charlie Cobb; a collection of paints and paintbrushes; a sketchbook; brass paperweights; a walnut-cased travelling set of paints made by Green & Stone; a brown leather folding brush case; two studies of John Lithgow as Churchill painted on board, in the manner of Graham Sutherland; a selection of preliminary sketches and printed inspiration gathered by The Crown's Set Decorating Department to replicate the original paintings; and two set drawings of Churchill's studio created by the Art Department, (qty)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

The Queen Mother: a selection of character bar props compiled by The Crown's Set Decorating DepartmentTo include: a silver-plated drinks tray, the gadroon rim above a pierced gallery leading to a foliate and scroll decorated body surrounding a plain central cartouche, raised upon four claw and ball feet; a cut-glass ice bucket and matched tumbler; a pair of silver-plated ice tongs, with claw bowls; a white-metal ice spoon; a champagne swizzle stick; a small white metal dish with foliate and shell rim; a white metal-mounted foliate cocktail stick holder; a BOC Sparklets soda syphon, in gold; and a green glass bottle of Tanqueray gin, Glenfarclas single malt Scotch whisky, and Hennessy cognac, the tray: 47cm wide, 28cm deep, 7cm high (18 1/2in wide, 11in deep, 2 1/2in high) (12)Footnotes:The champagne swizzle stick was also used by Helena Bonham Carter (as Princess Margaret) in Season 3, Episode 10, 'Cri de Coeur.'For further information on this lot please visit Bonhams.com

A group of original props from the Peter Kay series 'Max & Paddy's Road To Nowhere', various newspaper articles, envelope to Peter (love note) & the sun & tv mag sent to Max & Paddy, used in the filming of the series.

A group of original props from the Peter Kay series 'Max & Paddy's Road To Nowhere', Garage calendar (series 1 episode 2) & 'Charlie's Anals' dvd case, used in the filming of the series.

A group of original props from the Peter Kay series 'Phoenix Nights', Jerry The Saint st Clair Young at Heart CD case & Les Alanos band pictures, used in the filming of the series.

A group of original props from the Peter Kay series 'Max & Paddy's Road To Nowhere', 6 x hall of mirrors signs (arrow fingers), used in the filming of the series (deleted scene).

A group of original props from the Peter Kay series 'Phoenix Nights', Smithills items comprising a table lamp, 3 ashtrays & smithills bearmats, all used in the filming of the series.

A group of original props from the Peter Kay series 'Phoenix Nights', fluorescent badges from ladies night, used in the filming of series 2 episode 5.

A group of original props from the Peter Kay series 'Max & Paddy's Road To Nowhere', Police incident report, 6 x prison officers ID badges, & other prison memorabilia, used in the filming of the series.

A group of original props from the Peter Kay series 'Max & Paddy's Road To Nowhere', 17 x t-light holders & original poleroids from Wolfsters 40th birthday party (series 1 episode 3), t-lights used in the filming of the series.

A group of original props from the Peter Kay series 'Phoenix Nights', 25 Phoenix Club grand gala opening night brochures (2 with popups), used in the filming of the series.

A group of original props from the Peter Kay series 'Phoenix Nights', assorted signs, newspapers & paperwork to iclude 'JERRY'S LUCKY BALLS' sign, 'DEN PERRY DID IT' newspapers, Jerry st clair cash and carry invoice, darts team poster, 'FREE 'N' EASY NIGHT' poster, 'JERRY AID' poster, 'DO NOT TOUCH THE T.V' sign & a @STRICTLY NO SMOKING OVER THE SNOOKER TABLE' sign etc., all used in the filming of the series.

A group of original props from the Peter Kay series 'Max & Paddy's Road To Nowhere', 2 x Bermuda night club cocktail menus & Magnet & Steel drawings in geography books (searies 1 episode 2), used in the filming of the series.

A Captain Kirk Star Trek cosplay shirt, size XL, together with an assorted collection of Star Trek related props, games, die cast models and figures. (qty)

Props From the Charlie and the Chocolate Factory 2005 includes Wonka Whipple-Scrumptions Fudgemallow Delight Bar, Wonka Chilly Chocolate Creme Wrapper, Wonka Milk Chocolate Bars Store Box & Smilex Toothpaste Box. Fair to Good Plus.

A Lyons Maid wooden ice cream usherette tray with contemporary ice cream props for display purposes, 20 x 15 1/2".

‡ PAUL REES oil on board - entitled verso, 'Props Table (ii)' on Attic Gallery label verso, signed verso, 40 x 30.5cmsProvenance: private collection, consigned via our Cardiff officeComments: framed, ready to hang

Manner of Stanley William Hayter - Fisherwoman, 1952, etching with aquatint printed in black and green, with margins, initialled and dated in the plate ‘R.R 52’; together with Bridal Couple in a coach and horses, etching with handcolouring, both with margins, mount openings 11.5cm x 16cm and 13.2cm x 9.5cm respectively, framed and glazed (26cm x 21.5cm and smaller). Provenance: with The Rowley Gallery, London (labels to versos). (2)

Elisabeth Frink (1930-1993) - Aesop's Fables (Wiseman 22-25). The book, 1968, including title, text, reproductions and four lithographs bound at the back of the volume, each signed ‘Frink’ in pencil, on cream Zerkall Butten wove paper, signed and numbered 47/250 in black ink and dedicated ‘For Rita and Brook.’ on the title page (there were also 25 hors commerce impressions), published by Alistair McAlpine Publishing Ltd. and Leslie Waddington Prints Ltd., with the original leather binding with impressed decorative design, artist’s name and title, Overall 280 x 390 mm. Provenance: acquired by Mr H. Brooking Clark from Leslie Waddington Prints Ltd for £120, 3rd December, 1968 (with original invoice) 

Margaret Thomas (1916-2016) - The Venetian Ambassador’s Bedroom in Knole, with the Tapestry of the Pride of Niobe. Watercolour on wove paper, signed with initials ‘MT’ lower right, framed (39cm x 27.4cm). We are grateful to Dr. Ross King for his identification of the artist. 

20th Century Continental School – Portrait of a Young Woman in a Hat, oil on board, 18.5 x 14.5cm, wooden frame (25.5 x 21.5cm)  

H. Thomser (early 20th century) - A Bavarian old man raising a glass of beer; and a Bavarian old man reading at a draped table. Oil on panel, 21 x 16cm, in pierced gilded Rococo frames (41 x 36cm)  (a pair) 

Italian School, 17th Century - Christ before Caiaphas. Oil on copper, 31cm x 25.5cm, in a gilt frame with beading motif 942 x 35.5 cm), label on verso with date M.D.C.X.X.X.I., 42cm x 35.5 cm.

John Meade (1909-1982) - Hammersmith Bridge. Pencil and watercolour, signed ‘John Meade’ lower left, mount opening 27cm x 35.7cm, framed and glazed (47cm x 54.5cm).

Six late 19th Century engineering drawings relating to Lambeth Palace, including the Frieze on the River Front with its ornamental features, including swags, spandrils and grotesques, rosettes and crowns, the stone corbel of the roof truss, and technical measured elevations, largest mount opening 54.5 x 36.8cm (frame 70 x 52cm), smallest mount opening 25.8 x 19cm (frame 40 x 33cm), all framed and glazed (6) 

After Guido Bach (1828-1905) - A young Girl and Boy from the Roman Campagna. Oil on canvas, framed, each 35.7cm x 25.7cm (14" x 10"), Rococo gilded frames with floral motif (45cm x 35cm) (A Pair). 

John Stanton Ward (1917-2007) - Uccelleria (Bird House), Borghese Gardens, Rome. Pen and brown ink and watercolour on laid paper, 1989, signed ‘John Ward’ in pencil, inscribed ‘Uccelleria Borghese Gardens / Rome 5 October 1989’ in pen and brown ink towards the centre of lower edge, mount opening 15.5cm x 32cm, framed and glazed (33.5cm x 47cm).

John Houston (1930-2008): Dieppe. Watercolour, 1979, signed lower right ‘Houston’, 17.8cm by 25.2 cm, float mounted, glazed, silver painted frame (41cm x 49cm). Provenance: With the Mercury Gallery, London (label to verso), bought by Michael Thorncroft Esq. 

After Jean-Paul Laurens (1838-1921) - "The Excommunication of Robert the Pious". Oil on canvas, after 1875, bearing signature ‘A. Drummond’ on the wooden chest at left. 36cm x 52cm (15" x 21"). In gilded frame. The original painting by Jean-Paul Laurens is in the Musée d'Orsay, Paris (accession no. RF 151).

John Ward R.A. (1938-2023) - Book Jacket design for "The Lion of Athens" by Anna Twose, published in 1976 by Chatto and Windus. Pen and brown ink and watercolour, circa 1976, on laid paper, mount opening 29.7cm x 42.3cm, framed and glazed (48.5cm x 60cm). Provenance: with J. S. Maas & Co., London (label to verso).

Didier Fortesque (20th Century) - A wooded country road with a town and hills beyond; and A River Landscape. Oil on panel, each signed ‘D Fortesque’ lower right, 12.7cm x 17.5cm, in gilded frames with ribbed and foliate motifs, 33.5cm x 38cm (a pair). Provenance: Racine Art Gallery, Paris, with their certificates of authenticity verso. (2)

British 20th Century School: M.P. Lewis - Vase of Flowers on a Table. Oil on canvas, signed and inscribed ‘M.P. Lewis / B.W.S.' lower left, 36cm x 46cm in painted frame (49cm x 59cm)

W. Wasdell Trickett (fl. 1921-1939) - Tourist and Jangles: Two Horse Portraits in their Stables. Oil on canvas, Jangles signed and dated  `W. Wasdell Trickett 1929’ lower left, Tourist signed (and presumably dated) lower right, 36cm x 46cm (14” x 18”), in gilt frames (50cm x 60 cm). A pair. 

After Raphael (1483-1520): The Great Holy Family of François I. Oil on canvas, probably 18th century, in an ornate moulded and gilded frame with acanthus leaf, foliate and beading motifs. 210cm x 138.5cm (82 3/4 x 54 1/2 inches). This is an extremely faithful copy of Raphael’s oil on canvas, "La Sainte Famille, dit La Grande Sainte Famille de François Ier" (The Holy Family, known as the Great Holy Family of François I), now in the Musée du Louvre, which, with its proportions of 207cm by 140cm, explains its sobriquet. The fidelity to the original painting suggests that the artist copied it from the life, rather than from an engraving. The original painting was given as a gift by Pope Leo X to King François I of France in 1518, and remained in the Royal Collection until it was taken for the State.

Kate Greenaway (1846-1901) - "Lesson Nine" and "When we went out with Grandmama''. Pencil, circa 1885, on wove paper, the first sheet size 12.4cm x 7.8cm, the second mount opening 11.5cm x 5cm, partially gilded wooden frame, glazed. These are preliminary drawings for the artist’s illustrations in the "English Spelling Book" by William Mavor and "Marigold Garden", 1885, pages 26 and 17 respectively. Provenance - with J.S. Maas & Son Ltd, London (label to versos). 

Attributed to Thomas Hickey (1741-1824) - Portrait of an engineer for the Royal Artillery in a Landscape, his shagreen-cased draughtsman’s set beside him on a Canon, a Military Encampment beyond. Oil on panel, circa 1780, 24.1cm x 19.7cm (9½ " x 7¾ "), gilded frame with sunburst and beading motif and bearing inscribed attribution to ‘John Downman A.R.A’ . Provenance:  with Pawsey & Payne Gallery, London (remains of a label verso, inscribed with the name of John Downman  in pen and ink, to whom the painting was formerly attributed). We are grateful to Nicholas Bagshawe for his opinion regarding this painting, on the basis of a photograph.

After Giovanni Battista Piranesi (1720-1728)- Ornamental Urn with dedication to Harriot Walter. Reproductive prints of two plates from the series "Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Batt. Piranesi", 1778-1780, with handcolouring in red and gold, on Fabriano wove paper, each with a deckle edge at bottom, 56cm x 38 cm (A Pair).

Georges van Houten (1888–1964) - Peacocks. Oil on canvas, 129cm x 79.5cm, signed ‘v. Houten’ lower right, framed (143.5cm x 93cm), label to verso of frame inscribed ‘van Houten bequest’, together with a letter by Professor Sir Roger Elliott describing the van Houten bequest, which fortune derived from his chocolate empire. Van Houten was an amateur artist who bequeathed his paintings, including this, to Oxford University.  

Stephan Buxin (1909-1996) - Woman (Lucile) drying herself after the Bath - Bronze, 1979, signed and dated on the base ‘Buxin / 1979’ and numbered 4/8 , and with the foundry stamp on the base. 28.5cm x 11.5cm.

Two large decorative prints of Palms in Ornate Urns, in part gilded moulded wood frames, glazed (a pair). 89cm x 59cm. 

AN EDWARD BAWDEN ORIENT LINE SMALL PLATE, A BLACK BOY TOBACCO POT in the form of a watermelon, a pair of pottery window props, Evesham ware and other ceramics (Bawden plate centre worn, other damages)

Dinky Toy Aircraft, 60w Flying Boat, blue body, 62r Four Engined Liner, green body, red trim, 62y Giant High Speed Monoplane, grey body, green trim, 'G-ATBK' markings, 60k Light Tourer, silver body, 60g Light Racer, silver body, 'G-RACE' markings, 60r Empire Flying Boat 'Cambria', silver body, 'G-ADUV' markings, and others, P-G, 62r lacks two props (14)